{"id":525,"date":"2023-05-22T13:45:02","date_gmt":"2023-05-22T10:45:02","guid":{"rendered":"http:\/\/special-interests.net\/main\/?p=525"},"modified":"2023-05-23T18:36:59","modified_gmt":"2023-05-23T15:36:59","slug":"world-of-rubber-blood","status":"publish","type":"post","link":"https:\/\/special-interests.net\/main\/world-of-rubber-blood\/","title":{"rendered":"WORLD OF RUBBER & BLOOD"},"content":{"rendered":"\n

CREATIVITY AND CREATION OF YOUR OWN WORLD : RUBBER AND BLOOD<\/p>\n\n\n\n

Text by Mikko A<\/p>\n\n\n\n

With couple former writings, I have mentioned Finnish TAIDE<\/strong> magazine as once of sources that made me think about particular qualities in noise. It is no surprise, since articles in contemporary art magazine may occasionally cross-over same questions we face in context of sound art. Regardless do the noise makers consider themselves as artists or sound they make as art. It would be very nice, if more of such discussion would exist in milieu of noise. Discussion that would not be theoretical, but something vitally connected to expression itself.<\/p>\n\n\n\n

Recent issue of TAIDE (2\/2023) included essay that studied the role of creativity and learning. Author had found out that as opposed to spending time in thinking what to paint, more creative starting point would be giving his son large brush and freedom to start something for blank canvas. He would continue work from that. Using his creativity to make something out of things already appearing on canvas. His idea was revolving around symbiosis where learning and teaching is barely one way process. To me it appeared as something you could think what could come out of noise collaboration. Two artists feeding from energy of each other.<\/p>\n\n\n\n

Author quotes infamous Finnish theatre figure, director and controversialist Jouko Turkka<\/strong>, who stated that children are not really creative<\/em>. Child tests and tries whatever because his\/hers nature is still sort of biologically and mechanically directed to do so. There is more curiosity, than creativity. He argues creativity is quality of adult human, based on former knowledge and processing that knowledge further – in creative ways.<\/p>\n\n\n\n

It is curious to think how we acknowledge and casually talk about idea of creative noise <\/em>as opposed to cliches and sub-genre copycat noise. Many times if we really try to discuss what is<\/em> that creativity, we may realize we face surprisingly complex question. It includes, not only semantic level, but also other levels. One being cultural element. It is curious to think, that creativity means different things in different cultures and languages. As an overall impression, we know that creativity is generally considered to be a phenomenon whereby something new and valuable is formed. That is not entire truth. Just like Jouko Turkka above mentioned, there is difference are you creative (creative being result of creative persons act) or simply stumbled into something by lucky accident.<\/p>\n\n\n\n

“Cross-cultural research centered on Hong Kong found that Westerners view creativity more in terms of the individual attributes of a creative person, such as their aesthetic taste, while Chinese people view creativity more in terms of the social influence of creative people (i.e., what they can contribute to society). Mpofu et al. surveyed 28 African languages and found that 27 had no word which directly translated to ‘creativity’ (the exception being Arabic). The principle of linguistic relativity (i.e., that language can affect thought) suggests that the lack of an equivalent word for ‘creativity’ may affect the views of creativity among speakers of such languages. Creativity has been more thoroughly researched in the northern hemisphere, but here again there are cultural differences, even between countries or groups of countries in close proximity. For example, in Scandinavian countries, creativity is seen as an individual attitude which helps in coping with life’s challenges, while in Germany, creativity is seen more as a process that can be applied to help solve problems.”<\/em><\/p>\n\n\n\n

Does the cultural difference apply in how creativity is seen in experimental music is something that can’t really be observed. I tend to think there is certain amount of cultural influence even within the sub-\/countercultural works that comes from certain time and place.<\/p>\n\n\n\n

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Not long ago I was reading critical rant about current state of noise. Writer was in favor of noise by youngsters. Preference to works of those who had really no idea what they were doing, nor consciousness of genre or scene history. This is opposed to the noise artists who create in middle of already established experimental sound culture with its routines and unwritten rules. I know what he means, but I don’t see necessarily glory in cluelessness. It did result number of things, but there was probably also other factors involved.<\/p>\n\n\n\n

That child-like situation appears in moment when you first get to know real noise. We all most likely remember the first experience of harsh noise or industrial racket which was experienced with ears of newborn – so to say. We could hear the sound in a new way, without routine and familiarity. It is absolutely different from when it is fee of entire repetition that dominates the adult experience. You believe and learn, and only later on there will be doubt. Genre veterans, the older people, can not hear the new noise tape in 2023 like the teenage youngster with few thousand releases less in their mind may hear it. Neither they hear their own works in that way.<\/p>\n\n\n\n

In recent times, discussion in Special Interests forum revolved around current age newbie noise makers who according to some, are kind of missing the point of noise making. It can be legitimate question can we consider the newbie “creative” if they are simply adopting the routines how it is supposed to be done<\/em>? Perhaps matter of perspective. For maker, in world where everything is new and exciting, “creativity” is almost meaningless notion.<\/p>\n\n\n\n

In a positive sense, some may be free of the baggage of being influenced by idea of how noise is supposed to be. Sometimes, being influenced by long history of genre and realization how much is already out there can be baggage. Intentional replication of for example iconic Mother Savage Noise Productions<\/strong> red-zone crunchy harsh noise or crackling noise walls of The Rita <\/strong>may be aim to capture that same feeling that first made them excited. Knowing what and how its done, and doing it again.<\/p>\n\n\n\n

Is doing so just replication? In some cases maybe yes. It can be also that creativity<\/em> in sense of building upon something formerly done<\/em> may become important – and possible – only after we are not just shooting in blind. No more testing things first time in your life, but actually processing the knowledge further. <\/em>Finding out how something was done, and pushing it further from that. Meaning that creativity <\/em>is not lucky accident, but vision.<\/p>\n\n\n\n

This may be situation what is often the creating confusion. We value child like accidents as creativity, although they barely are so. Such moments may have been creativity in form of making noise with what you got<\/em>. Simply working with other tools than the rest will cause it being different. We can absolutely appreciate results that were born out of cluelessness and randomness. Mere difference itself may be worth of praise. Perhaps it is the creativity when you consciously take those as elements of randomness and uncommon technology into sound crafting to give sound more unexpected qualities to work with.<\/p>\n\n\n\n

Formerly mentioned writing in TAIDE magazine quotes Nietzsche and concludes that we have merely brief moment of time to show why we were born for this moment. Creativity would be the courage that is response for ourselves. To represent the Nietzschean pursuits of fearlessly self expressing, self-fulfilling: Being creative being, who by every step creates new expression.<\/p>\n\n\n\n

I have dealt with the question of personality in noise in length (see Special Interests magazine issue 14). Creativity certainly overlaps with it. We can consider creativity to be processing former knowledge further and adding your personal angle to it. The western idea to consider creativity in terms of the individual attributes of a creative person, their aesthetic taste. That tends to be noise that appeals to me the most.<\/p>\n\n\n\n

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It may not be absolutely creative way to take route of writing again about things I have often written about. However, writing for website where I pay the bills, I guess I feel entitled to write about whatever happens to come out. I felt tempted to writing something after listening to Vihanmiehet<\/strong> second album that came out recently on CD.<\/p>\n\n\n\n

We know Markkula as Bizarre Uproar who is one of the undisputedly most important Finnish noise acts. We know L\u00e4j\u00e4 \u00c4ij\u00e4l\u00e4 as key figure of Terveet K\u00e4det, legendary hardcore punk band, but also as pioneer in experimental sound.<\/p>\n\n\n\n

While listening Vihanmiehet album for the first time, I was slightly surprised by direction they had taken. At the same time, there is a lot what could be said to be result of logical progression. Shift of direction we have heard from their other recordings. Like clarity and almost high fidelity touch of later Bizarre Uproar works. That as opposed to brutal lo-fi amplifier noise of debut Vihanmiehet album that also dominated works of Bizarre Uproar at that time. Beats found from experimental works of L\u00e4j\u00e4 \u00c4ij\u00e4l\u00e4 recent output, is now more clearly present also in Vihanmiehet. These two somewhat old men who created this project, Markkula & \u00c4ij\u00e4l\u00e4 managed to top themselves. Push things forward, while keeping identity and personality of their sound. <\/p>\n\n\n\n

They clearly know what they have done before. They also know plenty of what has been done in history of genre. It feels as if they would somehow feed out of each others energy to make something different from their solo efforts. Album is step up from debut collaboration and while firmly sticking on “basic elements” we hear from their other works, the fusion here manages to form album that doesn’t sound like copy of anything particular.<\/p>\n\n\n\n

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I have seen discussion where people question how come leading figure of globally worshipped hardcore band has teamed up with dubious and notorious noise artist? Many can make enlightened guess why Bizarre Uproar stirs negative emotions in contemporary hardcore punk scene. Regardless of that, it is curious to think how their collaboration would be seen unexpected or strange. In my eyes it seems as if that would be something almost\u2026 destined to happen? Almost like thing that could or should have happened already decade ago or more!<\/p>\n\n\n\n

L\u00e4j\u00e4 \u00c4ij\u00e4l\u00e4 is one of the most known underground music figures in Finland. Regardless of the fame and recognition, many things he has been doing remains low profile or unacknowledged. Buried deep into underground dust as well as forgotten over the years. His role as noise marker has gained more attention within last decade. Not so much within noise scene, though. Almost all his releases are published by labels profiled into something else than noise. <\/p>\n\n\n\n

Man is responsible of one of earliest industrial leaning releases in Finland. Aavikon Kone Ja Moottori <\/strong>debut 7″ came out already back in 1979, when entire history of industrial music was still\u2026 not history! Basically something bubbling under, largely unknown in Finland. For many years, this was almost mythical release. It wasn’t until 1995 “The Golden Greats Of IKBAL” CD reissue and decade later “Passions Of L\u00e4j\u00e4 \u00c4ij\u00e4l\u00e4” CD made these materials heard by wider public. Reissued multiple times after that. <\/p>\n\n\n\n

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www.youtube.com\/watch?v=U05QekJsz5s<\/a><\/p>\n\n\n\n

I could estimate that none of Finnish noise artists who were rising in the 90’s were influenced by Aavikon Kone Ja Moottori, but many people were inspired by L\u00e4j\u00e4 \u00c4ij\u00e4l\u00e4’s approach in art and creation in general.<\/p>\n\n\n\n